If it may please the court — and omigod, why shouldn’t it? — we have before us the case of “Legally Blonde: The Musical,” an entertainment enterprise whose last known permanent address was Broadway, New York City.

“Legally Blonde: The Musical” (hereafter known as “LBTM”) is charged with several counts in this action, including the wearing of pink with intent to fry eyeballs; various crimes committed in the name of comedy; first-degree flounciness; and the harboring of small animals (namely, dogs) for the express purpose of making audiences say “Aaawwwww!”

Also, vagrancy: “LBTM” is reported to have loitered in a series of large cities as part of a purported “national tour,” and apparently has now made its way to San Diego.

In defense of its actions, “LBTM” presents forceful arguments concerning the entertainment value of its musical numbers (e.g., the peppy sorority anthem “Omigod You Guys,” the dyspeptic ode to the legal profession “Blood in the Water”); the considerable skills of its large cast of singer-actors; and the way it makes pretty vicious fun of “Riverdance.”

“LBTM” (hereafter known as The Show) also makes a reasonable case for writer Heather Hach’s dialogue, which the court acknowledges can be fresh and clever and whose lines include a description of a snooty East Coast coed as possessing “debutante J. Crew kung fu.”

As background, The Show has direct precedent in the case of “Legally Blonde” (2001), a motion picture starring Reese Witherspoon as the headstrong, pink-loving UCLA sorority sister Elle Woods.

In the touring musical, the role of Elle is portrayed by one Becky Gulsvig, a pleasing singer who may or may not, in fact, be legally blond, but whose talents (and tresses) impress.

Gulsvig’s character is a Chihuahua-toting fashion plate who is dumped by her would-be fiancé, Warner Huntington III (Jeff McLean). He has headed off to Harvard Law and taken up with Vivienne (Megan Lewis), a student described by Elle as “somebody who wears black when nobody’s dead.”

Elle then is admitted to Harvard Law, too, because the school decides blondehood counts as multiculturalism (that’s actually how Justice Scalia got in) and because it serves to advance The Show’s key theme, which can be summarized as “You go, girl.” Comedy and comeuppance ensue.

In assessing The Show (hereafter to be known as Fifi), the court concedes the appeal of such performers as Natalie Joy Johnson (the hairdresser Paulette), D.B. Bonds (Elle’s special friend Emmett) and Rhiannon Hansen (a member of Elle’s “Greek chorus” who is a ray of sunshine onstage and whose name is just fun to say).

The court also finds Jerry Mitchell’s direction and choreography versatile and energetic and Gregg Barnes’ costumes a feast for the eyes, but holds that Fifi’s songs (by husband-and-wife team Laurence O’Keefe and Nell Benjamin) at times stray too far into the sentimental.